<TD></TD></TABLE>
valentsuperstitionof
geonentofpantheispelsregardforthe
surroundinglandsent,h
itsbestproductintheprivatehoandgardenitsspiritdoesnot,likethegothic
spires,aspiretoheaven,butbroodsovertheearthandisntentedhitslotwhile
gothiity,chinesetelesandpalacessuggest
thespiritofserenity
unbelievableasitsee,theinfluenceofcalligraphyesineveninchinese
architecturethisinfluenceisseeninthebolduseofskeletonstructures,likepillars
androofs,inthehatredofstraight,deadlines,notablyintheevolutionofthesagging
roof,andinthegeneralsenseoffodproportionandgraceandseverityof
telesandpalaces
theproblefrevealingoilartothe
problef”touch”inpaintingjustasinchinesepaintingtheoutliningstrokes,
insteadofservingrelytoindicatethentourofshapesofthings,acquireabold
freedoftheiroecturethepillarsinersand
beainroofs,insteadofbeinghiddeninsha,arefranklyglorifiedandbee
iortantelentsingivingstrutothebuildingsinchinesebuildingsthe
eouswe
silyliketoseethesestructurallines,asindicatingthebasicpatteofthebuilding,
asicsketchesofoutlineinpaintingeworkisusuallyrevealed
inhousesareleftvisiblebothinsideandoutsidethe
house
thisarisesfroheprincipleof
”fraongthevariousstrokesofacharacter,weusually
etisanenvelopingsquare,his
regardedasgivingsupporttotherest,andthisstrokeustkepowerfullyand
kelonger,reobviousthantheothershavingobtainedsupportinthisin
stroke,theotherstrokesit
eveninthedesignofagroupofbuildings,thereisaprincipleofaxis>asthereisan
axisinstchinesecharacterstheyplanningofpeiping,oldpeking,one
ofthestbeautifulcitiesoftheoaninvisibleaxisof
severallesrunningnorthandsouthfroheouterstfrontgate,rightacrossthe
eerorsthrone,tothealhilltohis
axisisiddle”orckang,andinother
characters,likegheftp
perhapsreiortantthantheprincipleofastraightaxisistheuseofcurves,wavy
lines,orirregularrhythclinestontrastostclearly
seeninthepleorpalaansionis
based,initsessence,uponthebinationotrastofthestraightverticallinesof
thepillarsandthecurvedlinesoftherooftheroofitselfntainsantrastbetween
thestraightlineattheridgeandthesagginglinebelooourtrainingin
calligraphyinainline,ay
behorizontal,verticalorslanting,ustntrastithcurvedorsoftbrokenlines
aroundittheridgeoftheroofisfurtherrebrokenbyonlyafeive
tivesonlybythentrastoftheselinesarethestraightlinesofthepillarsandthe
plesofchinesetelesand
dsthederativepointofehasis
ratherthanthepillarsortheendonotexistinfront梩helatterbeing
proportionatelysllparedhtheroofitself
abc
threeierof
”nchtlruo,”
andfauscauligraphist
theoriginofthefausroofliracedtocalligraphy
thetopoftheting,signifyingthe”roof”notethesagintheddleandthesgivenbychineseroofs
thetopofcharacter”c”signifies”n,”butreselestheupperlinesofaroofnote
alsothesureandtheupthelowerends
notefurthertheprincipleofstructureinvolvedandappliedtochinesearchitecture
notetherigidverticallihepillarin”antrastedhthecurveinthe”roof”
andhotherhorizontalstrokesattachedtoitnotein”b”thecentralverticalcurve,
htheotherstrokesclusteringaroundapointatitstopandstrangelybalancingone
another
theoriginofthesaggingroof,probablythestuniqueandobviouscharacteristif
eiginea
nneadicdaysandyetthereasonforitis
obviousincalligraphynooneentsofchinesecalligraphycan
failtoseetheprincipleofgracefullyshe
greatestdifficultyistobringaboutstrengthofstroke,asitisaltogive
strengthtoaperfectlystraightstrokeontheotherhand,aslightbentoneitherside
diatelyafeelingoftensionitisonlynecessarytopointtothe
gracefulsaginthe”radical”signifyingaroofinchinesecharacterstoseethatthisis
noreiginationoftheauthor
ourloveforrhythrredofstraight,dead
linesbeeobviouseeredthatratedanything
quiteasuglyastheedechinesearchitecthas
perpetratedaestyledlighthouseshapedthingcalledthelakeexhibition
rial,anditstandsthereadstthebeautiesoflakelikeasoreona
beautysface,causingallsortsofeyetroublesittoolong
itplesofourdevicestobreakstraight,deadlinesthe
bestclassicexaleisperhapsthebalustradedroundbridgetheroundbridge
haizeshnature,becauseitisina
... </P></TD>
valentsuperstitionof
geonentofpantheispelsregardforthe
surroundinglandsent,h
itsbestproductintheprivatehoandgardenitsspiritdoesnot,likethegothic
spires,aspiretoheaven,butbroodsovertheearthandisntentedhitslotwhile
gothiity,chinesetelesandpalacessuggest
thespiritofserenity
unbelievableasitsee,theinfluenceofcalligraphyesineveninchinese
architecturethisinfluenceisseeninthebolduseofskeletonstructures,likepillars
androofs,inthehatredofstraight,deadlines,notablyintheevolutionofthesagging
roof,andinthegeneralsenseoffodproportionandgraceandseverityof
telesandpalaces
theproblefrevealingoilartothe
problef”touch”inpaintingjustasinchinesepaintingtheoutliningstrokes,
insteadofservingrelytoindicatethentourofshapesofthings,acquireabold
freedoftheiroecturethepillarsinersand
beainroofs,insteadofbeinghiddeninsha,arefranklyglorifiedandbee
iortantelentsingivingstrutothebuildingsinchinesebuildingsthe
eouswe
silyliketoseethesestructurallines,asindicatingthebasicpatteofthebuilding,
asicsketchesofoutlineinpaintingeworkisusuallyrevealed
inhousesareleftvisiblebothinsideandoutsidethe
house
thisarisesfroheprincipleof
”fraongthevariousstrokesofacharacter,weusually
etisanenvelopingsquare,his
regardedasgivingsupporttotherest,andthisstrokeustkepowerfullyand
kelonger,reobviousthantheothershavingobtainedsupportinthisin
stroke,theotherstrokesit
eveninthedesignofagroupofbuildings,thereisaprincipleofaxis>asthereisan
axisinstchinesecharacterstheyplanningofpeiping,oldpeking,one
ofthestbeautifulcitiesoftheoaninvisibleaxisof
severallesrunningnorthandsouthfroheouterstfrontgate,rightacrossthe
eerorsthrone,tothealhilltohis
axisisiddle”orckang,andinother
characters,likegheftp
perhapsreiortantthantheprincipleofastraightaxisistheuseofcurves,wavy
lines,orirregularrhythclinestontrastostclearly
seeninthepleorpalaansionis
based,initsessence,uponthebinationotrastofthestraightverticallinesof
thepillarsandthecurvedlinesoftherooftheroofitselfntainsantrastbetween
thestraightlineattheridgeandthesagginglinebelooourtrainingin
calligraphyinainline,ay
behorizontal,verticalorslanting,ustntrastithcurvedorsoftbrokenlines
aroundittheridgeoftheroofisfurtherrebrokenbyonlyafeive
tivesonlybythentrastoftheselinesarethestraightlinesofthepillarsandthe
plesofchinesetelesand
dsthederativepointofehasis
ratherthanthepillarsortheendonotexistinfront梩helatterbeing
proportionatelysllparedhtheroofitself
abc
threeierof
”nchtlruo,”
andfauscauligraphist
theoriginofthefausroofliracedtocalligraphy
thetopoftheting,signifyingthe”roof”notethesagintheddleandthesgivenbychineseroofs
thetopofcharacter”c”signifies”n,”butreselestheupperlinesofaroofnote
alsothesureandtheupthelowerends
notefurthertheprincipleofstructureinvolvedandappliedtochinesearchitecture
notetherigidverticallihepillarin”antrastedhthecurveinthe”roof”
andhotherhorizontalstrokesattachedtoitnotein”b”thecentralverticalcurve,
htheotherstrokesclusteringaroundapointatitstopandstrangelybalancingone
another
theoriginofthesaggingroof,probablythestuniqueandobviouscharacteristif
eiginea
nneadicdaysandyetthereasonforitis
obviousincalligraphynooneentsofchinesecalligraphycan
failtoseetheprincipleofgracefullyshe
greatestdifficultyistobringaboutstrengthofstroke,asitisaltogive
strengthtoaperfectlystraightstrokeontheotherhand,aslightbentoneitherside
diatelyafeelingoftensionitisonlynecessarytopointtothe
gracefulsaginthe”radical”signifyingaroofinchinesecharacterstoseethatthisis
noreiginationoftheauthor
ourloveforrhythrredofstraight,dead
linesbeeobviouseeredthatratedanything
quiteasuglyastheedechinesearchitecthas
perpetratedaestyledlighthouseshapedthingcalledthelakeexhibition
rial,anditstandsthereadstthebeautiesoflakelikeasoreona
beautysface,causingallsortsofeyetroublesittoolong
itplesofourdevicestobreakstraight,deadlinesthe
bestclassicexaleisperhapsthebalustradedroundbridgetheroundbridge
haizeshnature,becauseitisina
... </P></TD>